Dogtooth More Unsettling Than Dentures

Dogtooth

When it comes to Academy Award nominations there are certain types of films that you can bank on. Period pieces and war related films tend to stand a better chance at being nominated than a risk-taking dramatic film whose content would shock many. So it is somewhat surprising, and rather refreshing, when the Academy Nominating Committee thinks outside of the box and show some love to a film like Yorgos Lanthimos’ Dogtooth.

Nominated in the Best Foreign Language film category, Dogtooth is a bold examination of what lengths some people will go to protect their children from the evils of the world. Three siblings (Aggelikki Papoulia, Mary Tsoni, Hristos Passalis) spend their lives confined within the walls of their parents (Christos Stergiouglou, Michele Valley) estate. Fearful of the horrors that their father (Stergiouglou) has told them of the outside world, the three teenagers are home schooled. Yet their education is not what most would consider proper learning. They learn a new form of vocabulary where words such as “phone” refer to the saltshaker. The parents use these tactics to ensure that their children never wonder about the outside world. The only outsider allowed into the family’s home is Christina (Anna Kalaitzidou), a security guard at the father’s factory who is paid to handle the son’s (Passalis) sexual awakening. When Christina steps beyond her bounds, the ramifications threaten to destroy the perfect little world that the parents have worked so hard to create.

Dogtooth’s premise is similar to M. Night Shyamalan’s The Village yet the actual content could not be more different. Dogtooth takes a far more realistic approach and, as a result, more disturbing examination of the issues of isolation and the evils of the world at large. It is fascinating to see the lengths to which the parents go in order to keep their family’s peaceful existence a float. What we would deem as excessive child abuse they would consider a necessary means to ensure their children remain innocent and pure.

The interesting thing is that Lanthimos’ seems to be suggesting that human nature, even in a childlike state, is anything but pure. The fact that the parents hired Christina is proof that they knew that it would be impossible to suppress the urges of a growing male with mere words. The perplexing thing is that they never even consider that women would have the same sexual urges. It is this misstep that leads to cracks in their seamless world.

Dogtooth is the type of film I could see Stanley Kubrick making if he was alive today. Although their situation would be considered strange by most, Lanthimos never treats his characters like freaks. They are merely a loving family who, for the most part, know no other way of life. The performances are outstanding all around. I especially liked Christos Stergiouglou’s work as “Father”. He creates one of the more memorable villains to grace the screen in a long time.

Despite its, at times, shocking content, Dogtooth is far closer to truth than fiction. If you really think about it, how do we know the things we know? Besides school, a large portion of who we are is directly linked to who raised us. The words we know are based on what others have decided on well before we were even born. It is tough to imagine our world any differently yet that is exactly what Lanthimos does. He questions what is worse? Being isolated from the outside world? Or living in a world where you feel the need to isolate your children? Similar to the film’s wonderful ending, this is a question that the viewer will have to answer themselves.

The Fighter’s Family Pull No Punches

The Fighter

Sometimes our greatest enemies are the ones who we are linked to from birth. In the case of boxer Micky Ward (Mark Wahlberg), it is his family that causes a great deal of his strife in his life.

Based on a true story, The Fighter looks at Micky Ward’s turbulent journey towards becoming a boxing champion. Micky is managed by his overbearing mother, Alice Ward (Melissa Leo), and trained by his brother Dickie Eklund (Christian Bale). The latter is a former boxer whose biggest claim to fame is knocking out Sugar Ray Leonard many years earlier. Much to Micky’s dismay, Dickie, still hanging onto his past glory, becomes entangled in the world of drugs. After losing a series of boxing matches to opponents that he had no business fighting in the first place, Micky starts to question whether or not Alice and Dickie are really working in his best interest. When Micky starts dating Charlene (Amy Adams), he begins to seriously think about getting his life back on track. Yet in order for Micky to move forward with his boxing career he will have to sever ties with his family, a task easier said than done.

After taking a minor misstep with his last feature length film, I Heart Huckabees, director David O. Russell is back in top form with The Fighter. Although the film is set in the world of boxing, boxing is actually secondary. The Fighter is more of a character study than it is a boxing movie. All of the members of Mickey’s large family constantly talk about the obligations to family, but Micky seems to be the only one to actually adhere to “family” logic. The rest of the clan seems more than happy to ride Micky’s coattails. Alice and Dickie, in particular, are especially blinded by the money and the celebrity status they believe they have. This is prominent in the way both of them prance around for the HBO cameras. One of the best scenes in the film arrives when Dickie is watching the HBO documentary, which he believes is about his boxing career, and realizes that the show is actually about his drug addiction. The range of emotions which he goes through in the short span of time is fascinating to watch.

Christian Bale is mesmerizing as Dickie, he really does deserve many of the supporting actor awards he has be receiving this award season. Within the first five minutes of watching The Fighter you completely forget you are watching an actor. A similar point can be made for both Melissa Leo and Amy Adams, as they each completely immerse themselves into their roles. While each are strong on their own, their scenes together are filled with so much tension that it is only a matter of time before the rage starts to boil over. While Wahlberg may not bring the same impact as his fellow cast members, he still gives a rather good performance. While Wahlberg is talented, a lot of his best work in this film is due to Russell’s direction. Similar to other films they have worked together on, Russell finds a way to perfectly play up Wahlberg’s strengths as an actor. Russell is able to bring out a vulnerability in Wahlberg that is not often seen on screen.

If you go into The Fighter looking for a straight movie about boxing you might be a bit disappointed as the boxing scenes are nothing out of the ordinary. Films like Raging Bull, Rocky, The Hurricane and even Girlfight had more exciting in the ring scenes.Yet, if you are looking for a film that delivers both a good story and great performances, then The Fighter is definitely a film worth seeing.

127 Hours? I Only Need 10 Minutes

In the past year I have watched on screen piranhas devouring male genitals, robogeshias burning the flesh off of a man’s face with acid breast milk, and a man named Machete use an intestine like it was a bungee rope. Yet none of those moments evoked a reaction out of me the way a scant ten minute scene in 127 Hours did.

Directed by Danny Boyle, 127 Hours is based on the true life story of Aron Ralston (James Franco), a mountain climber who found himself trapped for 127 hours in a near life-ending predicament. Known for frequently going out canyoneering alone near Moab, Utah, Ralston would often take off in the great outdoors without telling anyone where he was going. One day, after spending time with two hikers he meets along the way, Kristi (Kate Mara), and Megan (Amber Tamblyn), Ralston’s solo journey takes a turn for the worst when his arm becomes trapped under a fallen boulder. Trapped for over five days, Ralston’s will to live is what keeps him going. Ralston is forced to use all of his survival instincts in order to get himself out of the canyon and find his way to safety.

If you have already heard the story of Aron Ralston, read his book, or reard any reviews of the film then you know the lengths he must go to in order to free himself from the boulder. While the scene is not that long in regards to the films overall running time; the intensity of the scene makes it feel like an eternity. While Danny Boyle never lets the film get as graphic as your mind makes the moment out to be, he by no means attempt to shy away from the details either. Boyle’s sharp camera angles and editing bring every severed nerve to life on screen. It has been a long time since I squirmed so much in my seat, in such a short span of time, during a film.

As Ralston, James Franco does a terrific job of selling the agony and pain his character is going through in that scene. Franco is given the tough job of making the audience care about Ralston completely in the span of time before the crucial moment occurs. Alternately, Aron Ralston could have been portrayed as an arrogant daredevil who was destined to have such an encounter. Yet Franco shows that Ralston is merely a kind hearted soul who loved the outdoors as much as he loved his family. Most importantly, Ralston loved life and was willing to do anything to continue living for as long as he can.

Along with Franco’s great performance, Danny Boyle really deserves praise for making 127 Hours work as well as it does. Unlike Cast Away, to which this film is frequently and unjustly compared, 127 Hours uses the simplest techniques to keep its man alone in nature story moving at a brisk pace. Whether it is the crane shots that emphasize the gravity of Ralston’s circumstance, the split screen sequences, or the way Boyle showcases Ralston’s bouts of delirium through flashbacks and visions, there is never a moment when the film feels long and/or plodding. Boyle manages to make a rather engrossing film out a situation where the majority of the film takes place in one small and confined setting. While he may not get the same level of love that the Coen Brothers, Christopher Nolan, or Darren Aronofsky do amongst the online community, Boyle continues to showcase why he is one of the best directors working today.

It is easy to dismiss 127 Hours as another Cast Away but that would be foolish. 127 Hours is a film that rises above its simple premise and offers up a film experience that is both fascinating and long lasting.

Black Swan Dances in Darkness

Black Swan

One of the most fascinating aspects of Darren Aronofsky’s highly praised film, Black Swan, is its unique stance on what is perfection. While it is a common belief that perfection is achieved through flawlessness, Black Swan takes the opposite approach. It is only when we embrace both our flaws and darkest desires that we truly reach a state of perfection.

Nina (Natalie Portman) is a ballerina at a prestigious ballet company run by artistic director Thomas (Vincent Cassel). When the principle ballerina, Beth Macintyre (Winona Ryder), is fired, Nina sees this as her chance to make her mark. Obsessed with nailing the lead in the new company production of Swan Lake, Nina pushes her body to the limit. Although Nina has the technique needed to succeed in the lead role, Thomas feels that she is too innocent to truly capture the spirit of the Black Swan. Nina becomes increasingly paranoid when Lily (Mila Kunis) joins the company. Lily is a free spirit who has a naughty side that is perfect for the role of the Black Swan. With her mother (Barbara Herhsey), a former ballerina, pressuring her to succeed where she once failed; along with the threat of Lily taking her role, Nina must decide how far down the dark path she is willing to go.

If Black Swan was an album, it would be a greatest hits compilation as that is what the film feels like at times. Black Swan incorporates all the best moments of director Darren Aronofsky’s directorial career up to this point. The film showcases his great method of storytelling while still incorporating the visual flair of his earlier works. Aronofsky takes us down the rabbit hole of madness and show us the beauty that lies within it. It is clear that Aronofsky has truly figured out how to keep his story at the forefront without overindulging in the visuals. There are so many smartly placed visual cues that Aronofsky is practically daring the audience to revisit his dark world after the film is over.

It is not easy to make a film primarily set in the confines of a ballet thrilling from start to finish but this is exactly what Aronofsky does. A lot of the film’s success is due to the wonderful work done by the ensemble cast. Natalie Portman really gives herself to the role both mentally and physically. When displaying Nina’s increasingly unstable mindset, Portman never loses that naiveté which Nina has at the beginning of the film. It is this reluctance of letting go of her innocence that not only makes Nina such a fascinating character, but also makes her final transformation even more stunning.

While Portman is getting a lot of Best Actress Oscar buzz for the role, the performances that stood out the most were the work by the supporting cast. Mila Kunis is quickly becoming an actress who is surpassing all of my expectation. She is fabulous as Lily and allows the film to send the audience on a few red herrings. Although Vincent Cassel continues his string of great performances, Black Swan might finally be the film that makes him a household name to mainstream audiences in North America. He is brilliant as the lecherous Thomas and his scenes with Winona Ryder are simply wonderful. Speaking of Winona Ryder, it is great to see her getting prominent work in movies again. Both Ryder and Hershey are exceptionally good in this film. Hopefully Black Swan will re-launch both careers to the point where they each get more meaty roles in films.

Black Swan is a film that should, and most likely will, be a prominent fixture when the Academy Award nominations come out in a few weeks. It is intelligent and visually thrilling without ever conforming to common convention. The performance and the direction makes this film a must-see for even the causal film watcher.

Never Let Me Go to Hailsham

Never Let Me Go

There are times when we all question our purpose in life. Whether it is when we are swamped with work; having issues with a relationship; or merely feeling a case of the blues on a given day. Despite this, the fact that we have the option to change our path always offers up a glimmer of hope at our darkest points. Yet, what if our lives were already mapped out for us from birth? Instead of having dreams of being a doctor, lawyer, engineer, writer, etc; how would you feel if you found out that your sole purpose in life is to sacrifice yourself for the greater good of mankind?

This is the dilemma that the characters in director Mark Romanek’s film, Never Let Me Go, must face. Based on the novel by Kazuo Ishiguro, the film follows three childhood friends, Kathy (Carey Mulligan), Tommy (Andrew Garfield), and Ruth (Keira Knightly), from their days in an English boarding school, Hailsham. While at school they follow the strict set of rules that their headmistress, Miss Emily (Charlotte Rampling), has outlined for them. Their harmonious way of life starts to show cracks when a new teacher, Miss Lucy (Sally Hawkins), reveals a secret about the school that will greatly impact the students.

Never Let Me Go was a film that did not impress me at first but, ultimately, I am glad I stuck with it. The slow pacing and seemingly typical love triangle had me wondering about all the positive reviews I had read. Fortunately the intricate and subtle layers of the film started to reveal itself and I became completely enthralled. Part of the lure of the film is that Romanek never opts for the big flashy scenes. Instead he draws out the sorrow and allows his actors to really revel in their character’s situations. Never Let Me Go offers many deep questions such as what is the value of a life? Do we have souls? And how do we assess who deserves to live and who deserves to die?

The three leads do a great job of showing the complexities of having hope in a hopeless situation. Carey Mulligan is really developing into quite a wonderful actress. She is slowly living up to the hype that arose after the release of An Education. Mulligan not only sold the bittersweet love story with Tommy; but she also, in her role as caregiver, showed how easily one can be desensitized to death. She questions if there is any real difference between those who are dying and the people they are saving.

One of the reasons that Mulligan is so effective in her role is the natural chemistry she has with both Keira Knightly and Andrew Garfield. Knightly shines as the vindictive Ruth, who may not be as strong as she seems. Knightly could have made Ruth an unlikeable character, but opts to make her far more rounded than you initially expect. Garfield on the other hand does of good job of portraying the fragile nature of Tommy without making him annoying. Even when the adult version of Tommy finally realizes his fate, it is his restraint and a somber tone, after a brief outburst, that speak volumes.

Never Let Me Go is a film that is far deeper, and frankly far better, than I had initially anticipated. It is subtle and powerful without ever ignoring the greater questions. This is a film that deserves to be both seen and discussed, as it will provide interesting debate.

Top Films of 2010

Top Films of 2010

Narrowing down the list to ten films was much harder this year than it has been in the last couple of years. The fact that there were two ties on my list is a testament to the great selection of films that have been released in 2010. 

10) Never Let Me Go – Saw this, and Uncle Boonmee Who Can Recall His Past Lives, on the plane coming back from my grandmother’s funeral. Both deal with issues of mortality but for some reason this particular film really stuck with me more than I thought it would. (Full review coming soon)

9) Scott Pilgrim vs the World – Ignored by the masses, Scott Pilgrim was both a comedic and visual assault on the senses. Hopefully this film will find a decent cult following on DVD.

8) 127 Hours / Black Swan – Did a double feature of these two films the other day. Although they are two vastly different films, I was extremely impressed with both of them. Still cannot decide which one I love more. (Full reviews coming soon)

7) The Social Network – Despite the claims, it is not the movie that defines a generation. Regardless, the film is a gripping legal drama that will have you looking at the issues of ownership in a whole new light.

6) The Illusionist – If one film can stop Toy Story 3 at the Oscars it will be The Illusionist. Subtle and sweet, without being overly sentimental, the film will reaffirm your faith in mankind. Plus, the hand drawn animation is better than most of the 3D cartoons released in 2010.

5) Micmacs / The Art of the Steal – Two of my favourite films from the 2009 TIFF finally it theatres this year. Unfortunately neither the hilarious crime capper (Micmacs) nor the gripping art theft documentary (The Art of the Steal) found an audience in their limited theatrical runs. I believe both are on DVD now, so be sure to seek them out at your local video stores.

4) Toy Story 3 – The animated film that made grown men cry is a testament to how you can make a film franchise work. Never losing sight of the importance of good story telling, Toy Story 3 found the perfect blend of humour and emotion.

3) Inception – “A smart summer blockbuster” is not a term you hear often but that is exactly what this film was. Visually stunning, great ensemble cast, and a brilliant plot, Inception was a sight to behold. The best thing about the movie is how it actually gets better upon repeat viewings.

2) Blue Valentine – Blue Valentine has received more press due to its initial NC-17 rating than for the quality of the film itself. Which is a shame considering how good this film actually is. Ryan Gosling and Michelle Williams are simply stunning in this film.

1) Winter’s Bone – I absolutely loved this film. The story was original and Jennifer Lawrence’s performance was outstanding. Out of all the films that I saw this year, it was a simple film about a girl determined to find her father that impacted me the most.

Honourable Mention: Ajami, The Kids Are All Right, The Girl With the Dragon Tattoo, The American, Mr. Nobody, Fish Tank, The Messenger, The Last Exorcism, Shutter Island.

2010 Best Animals that Touch your Heart

The photo released in March, 2010 shows a five-year-old pet husky named "Ice", who has been popular on the internet after his images dressed as Superman were posted online

A panda cub is seen in this picture which released in March, 2010

National Geographic photographer Robert B. Haas captured this aerial photo of a flock of flamingo birds shaped like a giant flamingo in November, 2010.

An exhausted oil-covered brown pelican tries to climb over an oil containment boom along Queen Bess Island Pelican Rookery, 3 miles northeast of Grand Isle, Louisiana June 5, 2010. Wildlife experts are working to rescue birds from the rookery which has been affected by BP's Gulf of Mexico oil spill, and transporting them to the Fort Jackson Rehabilitation Center.

Two pet dogs are seen in Lipsia 2010 trad show in Leipzig, Germany on 18 October, 2010.

Photographer Eric Lefranc caught this polar bear cub and his mum on camera as they found themselves stranded 12 miles from land after a melting iceberg started to drift in Svalbard, Norway in March, 2010.

A dolphin is seen in SeaWorld Orlando in Orlando, US, February, 2010.

Two year-old octopus Paul, the so-called "octopus oracle" predicts Spain's victory in their 2010 World Cup semi-final soccer match against Germany by choosing a mussel, from a glass box decorated with the Spanish national flag instead of a glass box with the German flag, at the Sea Life Aquarium in the western German city of Oberhausen July 6, 2010.

A dog shows off its surfing skill. This photo is released in December, 2010.

British media "The Sun" released a group of photo entitled "The world's top 10 fattest animals" in September 2010. In this photo is world's fattest seabird.

Winter’s Bone Chilling Code of Silence.

Winter’s Bone

Recently a co-worker and I were discussing the state of movies in 2010. My co-worker was commenting on what a poor year it has been for cinema. The summer box-office numbers were used as validation of this point. While I agree the summer movie season was less than desirable, I firmly believe that 2010 has been an excellent year for quality films. Far better than the last year’s crop of films. One of the films that really blew me away this year was Debra Granik’s latest film Winter’s Bone.

Set in a rural community where the local industry is brewing Crystal Meth, Winter’s Bone looks at the lengths to which a young girl will go to in order to keep her family together. Ree Dolly (Jennifer Lawrence) is a 17 year-old who must take care of her two younger siblings as well as her mother who is ill. Cash is tight, and food is slim, but somehow Ree manages to maintain a resemblance of a somewhat stable home. Unfortunately Ree’s hard work is about to go up in smoke when she learns that her father has put the house up as collateral for his bail. If he does not show up for his court hearing, the entire family will be homeless. Despite stern warnings from her father’s brother, Teardrop (John Hawkes), and others in the community Ree is determined to track down her father at all cost. Yet the more Ree inquires about her father’s whereabouts, the more danger she puts herself and her family in.

Winter’s Bone is not a flashy movie but its simplicity is what makes it so captivating. Setting the film in the confines of a small community allows the film to evoke an eerie tone that only amplifies the gripping script. The one thing that is immediately noticeable is how the area in which Ree lives has its own set of unwritten laws and hierarchy. These rules supersede anything that the government institutes. Even local officers, such as Sheriff Baskin (Garret Dillahun), know that they are mere pawns in the grand scheme of things.

This is a region where the men set the standards and the women are meant to follow obediently. Those who go against the code, regardless of age or sex, will be dealt with in a cruel manner. This is why Ree is such a fascinating character. Despite her youth, she carries the determination and wisdom of a woman far beyond her years. The independence that she has gained from having to raise her family has opened her eyes to the follies of the area in which she lives. Unlike most, Ree believes that family is more important than any code. This is a lesson that Teardrop and others in her family have forgotten.

Although the town in which Winter’s Bone takes place is run by men, it is women who make this film such a success. Whether it is Granik’s subtle nuances with her use of colour, or the way she interjects moments of calm (such as the musical birthday celebration) amongst all the grim tension. Granik is clearly a director who I am looking forward to seeing more from in the future. I also cannot forget the phenomenal performances from both Jennifer Lawrence and Dale Dickey. Jennifer Lawrence gives one of the best performances of the year in this film. She conveys a maturity and understanding of her craft few actresses show so earlier in their careers. Winter’s Bone lives and dies on the believability of Ree’s character, and Lawrence successfully rises to the challenge. While Dale Dickey only has a small role in the film, she manages to bring a complex mix of menacing anger and compassion to the role of Merab. Bounded by the code, Merab does not initially want to inflict pain on Ree, yet she will not hesitate for a minute if she is called to do so. Is Merab a villain or merely a victim of circumstance? This is the question that the audience will be wrestling with long after the screening is over.

Winter’s Bone is garnering a lot of notice on the award circuit and rightfully so. It is one of the best films you will see this year. While it may not have the flashiness of The Social Network, or the star power of Inception, it is a film that should not be missed. Go out and rent this film as soon as possible.

Scott Pilgrim vs. the World An Unfair Fight

Scott Pilgrim vs. the World

Hyped by diehard fans of the comics, heralded by critics, Scott Pilgrim vs. the World is a film that many expected to be a huge box-office hit. Yet upon release Pilgrim was considered a “bomb” by Hollywood analyst as the film barely cracked the top five. Many critics, marketing insiders, and blogger are still scratching their heads wondering where it all went wrong! The answer is actually clear if you really look at the film objectively. Scott Pilgrim, in its current incarnation, is too much of a niche film. It does not have, nor will it ever have the crossover appeal to hit it big with mainstream audiences.

Scott Pilgrim (Michael Cera) is a musician in his twenties that has had a rather large “love them and leave them” track record with ladies. Scott is dating Knives Chau (Ellen Wong), a girl who is still in high school. Things between Scott and Knives seemingly go well until Scott meets a delivery girl, Ramona Flowers (Mary Elizabeth Winstad), who takes his breath away. Convinced that Ramona is his soul mate, Scott sets out to win her over while trying to figure out how to break it off with Knives. Scott’s life is further complicated when he discovers that he will need to defeat her seven evil exes (including Jason Schwartzman, Brandon Routh, Chris Evans, Keita Saito, and Shota Saito) in order to have a normal life with Ramona.

As I mentioned earlier, Scott Pilgrim vs. the World is really made for fans of the comic. Though this does not mean you have to run out and get the books before seeing the movie. I was thoroughly entertained by the film despite having not read the series. Its fast paced energy and hilarious pop culture references made this film one of the more pleasant surprises of the year. However, it must be noted that the kinetic pacing of the film will not appeal to everyone.

The film intentionally plays out like a video game on crack. At times the film is almost too self-aware for its own good. There are jokes in the film that require multiple viewings before you catch all the references. For example, Broken Social Scene’s bittersweet song “Anthem for a Seventeen Year-old Girl” plays in the background while a broken-hearted Knives plots revenge; or when Scott enters his apartment, ala Kramer from Seinfeld, to a brief sound of an audience laugh track.

While the film features a plethora of talented young actors in supporting role (including Anna Kendrick, Kieran Culkin, Alison Pill and Mark Webber), and some inspired cameos (Thomas Jane, Clifton Collins Jr.), the real star of the film is director Edgar Wright. Through Scott Pilgrim Wright succeeds in doing what the Wachowski siblings failed to with Speed Racer, and that is to make a truly engaging live action Manga style film. Pilgrim, at times, is an overload to the senses. There are so many visual treats that you will spend half of the film figuring out how Wright achieved all the different nuances.

Scott Pilgrim vs. the World is a film that will please fans of the source material and, in my case, cause a whole new group of folks to seek out the comics. Sure the film will not appeal to the masses, but that is fine. Those who “get” the film will be treated to an immensely entertaining ride that you will want to take multiple times. 

The Kids Are All Right So Stop Asking

The Kids Are All Right

As a newlywed the one question I always get is “so how is married life treating you?” To which I usually respond “good so far, just taking it one day at a time.” The latter part of my response always seems to evoke a peculiar look from the person who initially asked the question. I guess they expect me to be wearing the same rose colour glasses that many wear just after the “big day”. Yet that has never been my style, I have always taken a more realistic approach to relationships. I am fully aware that relationships take a lot to maintain and it only gets harder as the years go by.

It is this understanding that makes Lisa Cholodenko’s film, The Kids Are All Right, flow so well. Nic (Annette Benning) and Jules (Julianne Moore) have been in a committed relationship for 18 years. Living with their two teenage children, Joni (Mia Wasikowska) Laser (Josh Hutcherson), the couple appear to have the perfect life. The cracks in their relationships only begin to surface when their kids decide to seek out their biological father, Paul (Mark Ruffalo). The presence of Paul comes as a huge shock to Nic and Jules, and forces them to re-evaluate the dynamics of their relationship.

The Kids Are All Right examines how easily people fall into particular roles in relationships. These roles often become a prison of sorts as they inadvertently serve as the thing that defines them most in their relationships. Nic has always been the assertive one in the union. She is the bread winner who strives for excellence. These traits have been passed down to Joni, who Nic gave birth to. Jules on the other hand is the free spirit who never follows through with things. Her passions are often fleeting which makes it hard to for Nic to truly get behind Jules’ latest plan to start a landscaping business.

In many ways, Paul represents the sides of Nic and Jules that they have lost during their lengthy relationship. Paul has managed to turn his lack of formal education into a successful restaurant business, while still maintaining that passion for the finer things in life. In Paul’s case this includes music, wine and women. This is why Nic and Jules find themselves in such a tailspin around Paul. Jules sees everything she fell in love with about Nic in Paul. Paul also serves as a reminder to Nic of what her life was before everything became so serious.

Although there are several levels at play, Cholodenko’s film is able to express them all well through her wonderfully written script. While Benning, Moore, and Ruffalo will receive praise for their great performances, and rightfully so, it is the screenplay that makes this film a must-see in my opinion. Similar to her work in both High Art and Laural Canyon, Lisa Cholodenko has a way with words that is not appreciated the way it should be. There is rarely a moment where the plot or the situation feels forced. There are many moments in The Kids Are All Right where you can identify with the elements of their relationships. The excellent script coupled with the great performances allows The Kids Are All Right to standout above other recent films that have tried to show just how complicated relationships really are.

The American Retirement Plan In Italy To Die For

The American

I have noticed a fair bit of George Clooney backlash on the internet over the past year. I am not sure what the root of it is as Clooney has developed into a really good actor within the last ten years. Instead of opting for the easy paycheck, George Clooney has been rather consistent in selecting works that are both challenging and layered. A perfect example of this can be found in his work in Anton Corbijn’s The American.

In the film George Clooney plays Jack, an American assassin who specializes in weapons making. After his latest assignment goes horribly wrong, Jack informs his liaison, Pavel (Johan Leysen), that he plans to retire after his next mission. Jack’s final assignment takes him to the Italian countryside where he is commissioned to build a light sniper rifle for a client, Mathilde (Thelka Reuten). While in Italy, Jack befriends a local priest (Paolo Bonacelli) and begins a romance with a local prostitute, Clara (Violante Placido). Jack also discovers that someone has placed a bounty on his head. As Jack tries to figure out who is out to get him, he is forced to consider the possibility that it could be an old enemy or one of his new acquaintances. 

The American unfolds at a slow measured pace for which even the big action moments are treated with soft subtle tone. While the pacing will annoy some viewers, The American is a film that rewards viewers for their patience. Director Anton Corbijn shows how easily the paranoia can build in Jack’s line of work. This leads to several tense moments where even the simplest conversations, such as the ones Jack has with Clara, take on a whole other meaning for Jack. Corbijn’s film implies that, even in retirement, Jack will never truly be at rest.

George Clooney does a terrific job of conveying Jack’s weariness. After years of killing and living a solitary life, Jack is no longer as sharp as he once was. The passion for companionship has taking over his passion for the kill. Jack’s greatest weakness is his love of women. Despite the events that occurred with his last relationship, Jack still falls into the same trappings with Clara.

While engaging, the Jack and Clara romantic arc is rather predictable. In fact, this is the biggest flaw with The American on the whole. The film has a level of predictability that is hard to ignore. Still, like the stylish films of the seventies which serve as Anton Corbijn’s inspiration, even though the ride maybe familiar you still enjoy taking it nonetheless. The American is one of the better film to hit theatres this year.

The Social Network Makes Stalking Acceptable

The Social Network

David Fincher’s latest film, The Social Network has been called both a “masterpiece” and “the film that defines a generation.”  Once you get pass the initial hype, and the tendency for critics and bloggers to go gaga over everything Fincher touches, it becomes clear that these associations are not quite true.  While The Social Network is one of the better films to hit theatres this year, it is the Facebook application itself and not the movie that will be remembered in the history books.

After being dumped by his girlfriend Erica Albright (Rooney Mara), Harvard student Mark Zuckerberg (Jesse Eisenberg) takes to his blog and trashes her character over cyberspace.  This leads to the idea of creating a website that allows students to rank all of the female students on campus.  An instant hit amongst the students, Mark’s program end ups crashing the Harvard computer system.  While this raises the ire of both the school faculty and the female students, it also brings Mark to the attention of twin brothers Cameron and Tyler Winklevoss (both played by Armie Hammer).  The Winklevoss twins approach Zuckerberg about creating a Havard version of MySpace.  Although Zuckerberg agrees to help them with their project, Zuckerberg ends up working on his own website, The Facebook, with the aid of his best friend Eduardo (Andrew Garfield).  Soon The Facebook becomes a global hit and Zuckerberg not only finds himself meeting the likes of Sean Parker (Justin Timberlake), the brains behind Napster, but also finds himself in the middle of multiple lawsuits.

While the film looks at the creation of Facebook, The Social Network is a legal drama first and foremost.  The film looks at the question of ownership in today’s society.  In one scene Zuckerberg makes a great point where he questions if someone who makes a nice chair, must they pay everyone who has ever made a chair before them.  Fincher never picks a side on the issue of who actually created Facebook, he merely lets the evidence play out and forces the audience to decide for themselves.

The interesting thing about this movie is that the hero is actually the villain.  Although Zuckerberg is clearly a genius in regards to the way his brain functions, he is far from a likeable person.  He is socially awkward and wants desperately to be a part of everything he despises mainly because it is what the cool people do.  In fact, all the major developments in the film stem from Zuckerberg’s childish habits.  Erica even remarks to Mark, although it could really apply to bloggers as well, that writing crude comments online is what angry people do in the dark.  Although the lawsuits involve millions of dollars, Fincher makes a point to remind us that, at the end of the day, the participants are still immature boys looking to impress the opposite sex.  

The Social Network has more to say about the nature of mixing friendship and business than it actually does about the impact of Facebook on today’s society.  Some of the best moments in the film are found in the tension between Sean and Eduardo.  Sean is the cool kid that Mark wants to be.  Sean not only talks the talk but has the vision and the experience to back it up.  Eduardo on the other hand is the loyal friend whose school taught approach to business limits his imagination in regards to how big Facebook can actually be.

The performances in the film are outstanding.  The Social Network features one of the best works from an ensemble cast you will find all year.  The performances coupled with Aaron Sorkin’s brilliantly written script and David Fincher’s stellar visual eye packs a big punch.   My only knock on the film is that, since it is primarily a legal drama, The Social Network never looks at the effects Zuckerberg’s creation has on society.  The program was designed to bring people together online, yet it is actually alienating people from each other in the real world.  What I mean by this is that people connect less now face to face, as everything from making plans to sharing stories is done online.  It is this reason why I have problems with the whole “the movie defines a generation” chant some are spewing.  It is a great film but not one that really impacts society the way you hope it would.  Still, as far as legal dramas go, The Social Network is one of the best.

Blue Valentine E-Card A Relationship Killer.

Blue Valentine

Yesterday I talked about the silliness behind Blue Valentine getting hit with an NC-17 rating, which at the time this review was written, was under appeal by The Weinstein Company who hold the distribution rights. So it is only fitting that talk about my views on the film itself. Directed by Derek Cianfrance, Blue Valentine is an intimate and honest look at what makes couples fall in love and fall apart.

Dean (Ryan Gosling) works his blue-collar job and takes pleasures in the simple things in life, mainly beer and his family. Although rough around the edges, Dean is a romantic at heart. Dean’s wife Cindy (Michelle Williams) is a nurse who is looking to further her career. Cindy is growing tired of Dean’s childlike ways and the distant between them begins to surface. In a last ditch effort to save their marriage Dean and Cindy decide to have a weekend away for just the two of them. Yet the trip hits a major bump in the road when Cindy runs into an old boyfriend, Bobby (Mike Vogel), at the store.

As I mentioned in an earlier post, Blue Valentine was my favourite film at TIFF this year. In many ways it felt like I was watching the fictional version of another great film I saw at TIFF, Allen King’s A Married Couple. Some will liken the film to Revolutionary Road, but I think it is more along the lines of François Ozon’s brilliant 5X2 more than anything else. Still, make no mistake Blue Valentine is a film that charts its own path. The reason I allude to 5X2 is because of the way time is manipulated in the film and the secrets which the manipulation reveals.

Blue Valentine continually jumps back and forth between the present and the past. Cianfrance gives equal weight to both the couple’s happier times in the past and their current turbulent state. As the film progresses, key details from past relationships are revealed as well as the ramifications they have on the present. This not only impacts the characters in the film, but how the viewer reacts to them as well. The film, similar to relationships themselves, is never as clear cut as you think it will be.

The key to Blue Valentine’s success is in the astonishing performances by Ryan Gosling and Michelle Williams. Gosling brings so many layers to the role that you wish the film went on for another two hours just so you can delve into Dean’s mind a bit more. The thing that I loved about Gosling’s portrayal is the fact that Dean never goes to the level you expect him to physically. This is most evident in the “infamous NC-17 inducing” scene. Despite the amount of times Dean is prodded, he always keeps his values in check even when he has reached his breaking point. Michelle Williams is equally mesmerizing as Cindy. It is only in the flashbacks that the cracks in Cindy’s character begin to show. At first it appears that she is just fed up with Dean’s immaturity, yet there are much deeper issues at play. The fact that I could not stop wondering where the characters ended up after the film was over is a testament of the wonderful work of both actors.

Blue Valentine does not hit theatres until December 31st and hopefully the NC-17 rating will be re-evaluated by then. This is a film that needs to be seen for both the story and the performances. It may have taken Derek Cianfrance 11 years to get the financing together for Blue Valentine, but it was worth it in the end. It was my favourite film at TIFF; and is one of my favourite films this year.

TIFF10 Review: The Illusionist

The Illusionist

Toy Story 3 is heralded by many, myself included, to be the frontrunner for the Best Animated Film award at next year’s Oscar ceremony. The creators behind Toy Story 3 may not want to get their acceptance speeches ready just yet. If there is one film that could pull off the upset, it will be The Illusionist. A humorous and touching film, The Illusionist could potentially steal some of Pixar's thunder come award season.

Helmed by Sylvain Chomet, the director who brought the world Les Triplettes de Belleville back in 2003, and based on an unproduced script by Jacques Tati; The Illusionist centres around a magician, Tatischeff, who goes to great lengths to keep a poor Gaelic girl believing in magic. Tatischeff seems to be the last vestige of a golden era of performers. The world no longer cares about folks who do magic tricks as rock bands, like The Brittoons, are now the focus for young minds. While performing in a small Scottish pub, Tatischeff comes across a young girl who works as a maid in the establishment. Seeing that the girl is in need of new footwear, Tatischeff uses some of the money he receives from the performance and buys her a nice pair of shoes. The girl believes Tatischeff magically pulled the item out of thin air and, as a result, decides to follow Tatischeff assuming his magic will bring her a better life. Not wanting to dampen the girl’s spirits, Tatischeff is forced to take on extra jobs in order to keep the charade going.

Behind Blue Valentine, The Illusionist ended up being my second favourite film at this year’s TIFF. The film is far more moving than you would expect from an animated feature. It nicely reaffirms how powerful a simple act of human kindness can be without being too sentimental. Although Tatischeff becomes a surrogate father to the young girl, his kindness does seem to influence the girl to do the same for others. In one poignant scene the girl makes stew for a few of the other tenants in their apartment, including a suicidal clown. Despite having several characters, like the aforementioned clown, whose lives are downright miserable, The Illusionist is a wonderfully uplifting work.

The Illusionist is as much a tribute to Jacques Tati as it is a look at the power of the human spirit. Tatischeff is not only a representation of Tati but, in one playful scene, actually ends up in at cinema that happens to be showing Tati’s film Mon Oncle. This scene, as well as numerous others, will evoke a smile from even the grumpiest viewer. Plus if the story does not grab you, which it will, the visuals surely will. The animation is beautiful especially the jaw-dropping details in regards to the Scottish landscape. The fact that the majority of the film was hand-drawn speaks volumes. Sylvain Chomet is able to evoke more genuine emotion out of the film, using very little dialogue, than most of the computer rendered 3D animated features that fill most multiplexes today.

I cannot recommend The Illusionist highly enough. I am confident that it will not only join Toy Story 3 in the animation Oscar race; but it shall also join that film on my list of best films of the year as well.

Mr. Nobody Is Always Remembering Somebody

Mr. Nobody

For all those who thought Inception was the biggest mind trip of the summer let me introduce you to Mr. Nobody. Easily one of the most mind-bending films you will see all year, Mr. Nobody takes the whole concept of existence, thoughts, dreams, true love, etc. to a whole new level. In many was Inception, is a nice warm up to Mr. Nobody as some of the ideas in that film are prevalent in here as well.

Nemo Nobody (Jared Leto) wakes up one morning to discover that he is not the same 34 year-old man he was when he went to sleep. The year is now 2092 and, at age 117, Nemo is the oldest living mortal in a futuristic world where nobody can die. As the world watches Nemo Nobody’s last days play out on television, Nemo spends his final hours reflecting on the key moments of his life. One of those life altering events surrounds the separation of his parents (Rhys Ifans and Natasha Little). Whichever parent Nemo chooses to live with will have major impact on his future relationships with three distinct women. There is Anna (Diane Kruger) who may, or may not, be his true soul mate; Elise (Sarah Polley) who is haunted by a lost love; and Jean (Linh Dan Pham) the one whose love Nemo may not fully reciprocate. Each choice in Nemo’s life comes with its own pros and cons; so in order to dictate his future Nemo will need to learn how to change the past.

Written and directed by Jaco Van Dormael, Mr. Nobody is a film where the lines between reality and fiction are often blurred. Is Nemo telling us the whole truth? Can he remember what the truth is anymore? Does truth even exist in a world that is changeable? These are just a few of the numerous questions that will cross your mind when viewing the film. If you are hoping that Dormael’s complex script will provide answers then you will be disappointed. Jaco Van Dormael is only interested in planting the questions in your mind and providing you with the tools to formulate your own answers. The script incorporates references to almost every school of thought known to man. This includes such things as string theory, the butterfly effect, the Big Crunch, entropy, etc. Needless to say Mr. Nobody is a film that begs for repeat viewing in order to grasp all the various philosophical and scientific thoughts that are in play.

Mr. Nobody is far from a linear tale. It bounces back and forth between time and in and out of alternate realities. Yet despite all of the craziness the film still remains quite captivating. At its heart, Mr. Nobody is essentially about love and the random moments in life that might not be so random. A lot of credit must go to the cast who help maintain a certain level of calm amongst all of the eccentricities that surround the film.

Jared Leto does a wonderful job as both the 34 and 117 year-old versions of Nemo Nobody. Frankly I cannot remember the last time Leto showed off his range as an actor this well. I would also like to highlight the exceptional work of both Toby Regbo and Juno Temple. They practically steal the film while playing 16 year-old Nemo and 15 year-old Anna respectively. So much of the film relies on the audience believing in Nemo and Anna’s relationship at this age; and neither actor disappoints.

If there is one complaint to make about Mr. Nobody it is that Jaco Van Dormael spends too much time on the teenage years of Nemo’s life. The pacing of the film really slows down in the middle as Dormael seems to hit the same note, regarding Nemo and Anna’s teenage romance, repeatedly. Dormael clearly establishes that both characters really love each other at that age, so it is perplexing why he would keeping going over this point when there is so much else going on in the film? Still, despite the slow middle section, Mr. Nobody is one of the films that will stick with you long after it is done. The film is challenging, confusing, witty, mesmerizing and definitely original. Mr. Nobody is one of the better, if not most maddening, films you will see this year.

My Dreams’ Inception Is Often A Blockbuster

Back to the blogging grind, thanks to all for the well wishes. It was a great trip, good food, good people, etc.



Inception

In 2005 Christopher Nolan attempted to change the way most people viewed both summer blockbusters and comic books with his film Batman Begins. Nolan used that film to remind us that not all summer blockbusters had to be mindless affairs. It is possible to have a summer movie that offered both brains and explosions. Since then Christopher Nolan has continued his trend of making summer blockbusters for all those who prefer substance with their sugary treats. The Prestige and The Dark Knight both offered up much to think about while entertaining immensely. Now with his latest film, Inception, Christopher Nolan has raised the stakes in regards to how much thought, and attention, a viewer is required to put into a summer flick.

Dom Cobb (Leonardo DiCaprio) is an expert at extracting information from people’s subconscious while they dream. Unfortunately Cobb is also a wanted man in the United States, so he is forced to take his extracting job on the road. After Cobb’s ex-wife Mal (Marion Cotillard) sabotages his latest mission, Cobb and his right hand man Arthur (Joseph Gordon-Levitt) are offered one final job by Saito (Ken Wantanabe), a powerful business man who has the ability to make Cobb’s problems in the United States disappear. The only catch is, instead of stealing information, Cobb and Arthur must place information in to the mind of Saito’s corporate rival Robert Fisher Jr. (Cillian Murphy). Cobb knows the art of inception is much more complex than removing secrets from a person’s mind, so he sets out to gather a team of experts to pull off this heist. In order for Cobb’s plan to work he will need the assistance of Ariadne (Ellen Page) the dream architect; Eames (Tom Hardy) the expert forger; and Yusuf (Dileep Rao) the chemist who can create a drug so potent that will keep them all in the dream state for 10 hours. If the team succeeds, it could be the perfect crime. Unfortunately none of them anticipate the deadly enemies that await them on the other side.

If Dark City and The Matrix were to ever have a love child, Inception would be that child. Inception offers up a fresh spin on the heist genre. Many elements standard to heist flicks are present: the ”one last job” motivation; each member of the team having a unique skill, etc. The major difference being that it is not about what is being stolen, but rather what is put in. Inception is an extremely smart film in which the audience does not need a PHD to decipher. Christopher Nolan spends the first half hour of the film establishing everything that we, the viewer, need to know about dreams and the subconscious. I loved how the film considers “the idea” to be the worst type of virus to inflict mankind. So, for example, if someone plants the notion in your head that you look fat in those jeans, that simple thought starts to eat away at you until you eventually discard those jeans. Even if you are unable to grasp all of the philosophical concepts talked about in the film, Nolan designs the narrative in a way that makes Inception accessible to all types of viewers.

The thing I really enjoyed about Inception is that the narrative plays by all the rules it sets up. Unlike other high concept films, such as Wanted, the film never states one thing and then proceeds to do another. Everything in Inception is plausible in relation to the world that this particular film establishes. The timelines in the three levels, four if you include limbo, of the dream world are clearly stated. Even though the van may be shown falling in slow motion we know that in reality it only takes ten seconds to hit the water in that level, which is twenty minutes in the next and so on.

Despite all of the jargon tossed around regarding dreams and the subconscious, Christopher Nolan never loses sight of the fact that Inception is an action-packed heist film. He ensures that every level of the dream world is filled with tense action sequences. The standout being the Arthur’s gravity defying fight with some henchmen in level two of the dream world. I really liked that Nolan opted to give the centerpiece action scene to Arthur instead of Cobb. Out of all the characters Arthur is the most straight laced. He clearly knows how to handle himself with a weapon but he is not as flashy as Eames. Yet when the balance of the mission is on the line, Arthur will do whatever it takes to keep himself and his team safe.

In many ways Arthur is the perfect contrast to Cobb. Arthur knows what the proper limits are for their particular line of work. Cobb, on the other hand, has gone so far past the limit that he continually puts his team in jeopardy for his own selfish needs. If 2010 has taught me anything it is that being married to Leonardo DiCaprio may not be as sweet as most women assume it would be. In both Inception and Shutter Island, DiCaprio’s characters are mentally damaged by events from a previous marriage. The character of Mal in Inceptions could have easily been played by Michelle Williams as they are almost identical in their construction. It is Cobb’s relationship with Mal that is at the core of everything in Inception, without it the film does not work at all. There will be those viewers that complain about the lack of character development for some of the supporting characters. Yet I honestly cannot see how the film could elaborate on them anymore without ruining the central Cobb arc.

For a summer that has been particularly dull in terms of the amount of movies that truly excite, Inception is truly a breath of fresh air. It is not only one for the best films of the summer but, in my opinion, it also one of the best films to come out this year.

A Good Woody Hard To Forget

Toy Story 3

Andy (John Morris) is getting ready to head off to college and is forced to decide what to do with all his childhood toys. Although Andy intends to store most of them in the attic, a mix up causes Woody (Tom Hanks), Buzz Lightyear (Tim Allen), and the rest of the gang to end up in the Sunnyside Daycare facility. At first the daycare looks like heaven on earth for the toys. They are warmly greeted by Lotso (Ned Beatty), who seemingly is the head of all the Sunnyside toys, and there are tons of kids to play with the toys. Even the possibility of romance arises as discarded Barbie (Jodi Benson) meets Ken (Michael Keaton). While most of the toys seem to enjoy their new surroundings, Woody is determined to get back to Andy. It is only after setting out to find Andy that Woody discovers Lotso may not be as friendly as he appears. With his friends in danger, Woody must figure out a way to save his pals and get back to Andy’s house before it is too late.

What is left to say about a movie that almost every professional movie critic and blogger has already said for me? I think Andy summed it up perfectly at the end of the Toy Story 3 when he somberly says “thanks guys.”

Thank you Toy Story 3 for offering up yet another engaging buddy film that never felt forced. Not for a minute. The movie features two distinct, and fully realized, story arcs that allowed both Woody and Buzz to continue the growth established in the previous two films. Woody’s arc leads the film into in a much darker place than the other films. Even though the main characters are toys Toy Story 3 offers a lot of food for thought in regards to death and the longevity of friendship. It is touching to witness Woody struggles with issues of mortality while still trying to maintain a brave face amongst his friends.

Director Lee Unkrich smartly balances the more somber mood of Woody’s adventure with Buzz’s more comedic arc. What I like about the Buzz Lightyear segments are that they never resort to cheap gags. Unkrich ensures that the humour is always grounded and often ties back into the allusions to Buzz’s love life. Another thing that is noticeable about Buzz’s arc is that it provides a platform for all the supporting characters to have their moments in sun. Unlike many film out right now, there is not one supporting character that feels out of place. Jesse, Rex, Hamm and the Potato Heads have become such an essential part to the Toy Story universe. Toy Story 3 would have felt odd without them.

I would also like to say thank the film for finding a way to sell Happy Meal without ever comprising the integrality of the main product. Are you taking notes Shrek? Whether it is the references to classic films such as Escape from Alcatraz and The Great Escape, or the reflective moments that will leave your eyes a little misty by the end, Toy Story 3 just gets better as the film goes on. Even in its final installment the Toy Story series continues to be a reminder that you can make big budget films that tell good stories, are full of action and humour, and feature well rounded characters.

If I had to make a complaint about the film, it would be that Pixar opted to go the 3D route yet again. Similar to Up, Toy Story 3 really does not need the 3D gimmick at all. I would have been impacted the exact same way had the film been done in 2D, the only real difference is I would have few bucks more in my pocket. Still, the loss of three extra dollars is minor considering how much the Toy Story franchise has given me back in return. So thanks again guys, it has been a fun ride and I am sad to see you go.